On top of running the recording studio, Crawford, 58, is an electronic music composer, recording arts instructor and a music technology specialist.

He was virtually born to it. As an infant, he suffered an intestinal ailment that ultimately starved his eyes of nutrients and left him totally blind.

Doctors resurrected a smidgen of his sight. Crawford's mother, foreseeing sound as his strength, gave him a recorder. It became his passion.

Musically, Crawford cites influences and touchstones ranging from Frank Zappa to Philip Glass to Pythagoras, the ancient Greek who discovered that halving an instrument string - "stopping" it midpoint with the finger - raises the sound an octave.

... Which means analog sound has an ascending infinitude limited only by the listener's senses. First, you and your dog can hear it; then, only your dog; finally, even Fido can't, though it's playing out there in the spheres.

In contrast, everything digital, pictures, audio, video or text, are just arrangements of 0s and 1s: ginormous files, but numerically finite nonetheless.

"Think of the digital world as like a chessboard," Crawford says. Finite number of squares, two-dimensional, binary color scheme; a vast number of possible moves, but a fixed number of moves."

Crawford plays with these differences in his concert. The first half is digital. It features four pieces. I'll mention three.

In "When I Look," Crawford videotaped a selfie. He caused his image to morph using ArtMatic software. He composed a minimalistic soundtrack for this transformation played by the virtual instruments of Logic Pro.

In "My Old Home" Crawford uses a 1968 Polaroid photo of his boyhood home to generate an audio file. The human side of the piece is his return to his old home to find it is to be razed.

"The Newton Story" uses as its inspiration Sir Isaac Newton's Inverse Square Law. Over a beat and music, processed samples and loops from intellectual historian Alan Charles Kors mingle with snippets from - wait for it - the 1961 flubber movie "The Absent-Minded Professor."

"You know, flubber was anti-gravity," Crawford cackled. "The more it bounced, the higher it went. So that's behind the idea of gravity itself."

Obviously, we've left Lynyrd far behind.

The digital part of the program concludes with "Digitalog," the interactive iGizmo performance mentioned above.

The second half - analog - opens with "The World Review," a lively composition based on synthesizer theme music Crawford wrote for a program of that name that ran on the old KUOP-FM.

Bank of Stockton provided a grant to transcribe Crawford's old 8-track MIDI files to new Finale software.

This concert proceeds through several pop songs, a rocker, a lighter-waving anthem and one, "Living with the Skunks" in which Crawford goes way out on a limb to comic-rap about the time a family of skunks moved under his house.

"Its going to be a unique concert for the Conservatory," Crawford said credibly.

This concert is a different kind of crossover. Pacific's Conservatory of Music is focused on traditional classic orchestral music composition and performance and jazz.

But Pacific also has one of the three music management schools in the nation. The program, which includes recording-studio classes, is more open to contemporary music. The Conservatory is in for a jolt of the new.

As is the city. "This is trying to bring current-day music technology and Internet technology, including touch-media technology, to the Stockton community," Crawford said.

And flubber. "When Fred MacMurray's in the basement throwing the flubber around, that's where I took the cuts from," Crawford laughed.

Tickets: $8 general admission, $5 seniors, free with student ID are available at the door. Advance tickets atpacific.edu/musictickets.

Contact columnist Michael Fitzgerald at (209) 546-8270 or michaelf@recordnet.com. Follow him at recordnet.com/fitzgeraldblog and on Twitter @Stocktonopolis.